CUKAS Annual Report 2013 2013 ENTRY CYCLE

1 Contents

Foreword 3 About conservatoire education in the UK 4 About CUKAS (including a list of CUKAS institutions) 6 The application process 7 Supporting CUKAS users 7 Terminology 8 Tables Table 1: Applicant summary 10 Table 2: Institution summary 11 Table 3: Age 12 Table 4: Disability 14 Table 5: Domicile 15 Table 6: Domicile (top five EU countries, excluding UK) 16 Table 7: Domicile (top five non-EU countries) 17 Table 8: UK domiciled applicants by POLAR2 quintile 18 Table 9: Ethnicity 19 Table 10: Applicants by principal study discipline 22 Further information 29

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2 Foreword

As I’m retiring as Principal of the Royal Conservatoire an upwards trajectory, which is a very good thing because of Scotland in September 2014, this is the last foreword there’s growing evidence that a conservatoire education to this Annual Report that I’ll be writing in my capacity leads not only to a culturally relevant career but that as Chairman of CUK. Looking back to when CUKAS conservatoire graduates are also every bit as important was launched in 2005 (and even further back when and relevant to the nation’s economic and social well- the visionary idea was first mooted), I’m immensely being as our wonderful scientists and technologists proud of what we’ve achieved. The very fact that we are (most recently evidenced by the Department of managed to bring together what must be one of the most Culture, Media and Sport’s Creative Industries Economic (productively) competitive parts of the higher education Estimates – January 2014). Secondly, the demographic sector into one coherent and co-ordinated system is a of our applicant pool is becoming more representative major achievement in itself. That we’ve managed to of society as a whole. That’s very encouraging – by their develop that system to the benefit of both our applicants nature, conservatoires exist to enrich the whole of society and participating conservatoires over the past nine years and we do a great deal to be as inclusive as we possibly or so is testament to our willingness to work together, can be and as society (as represented by the various and to our individual and collective commitment to the UK Governments and other agencies) expects us to be. common good. It was particularly pleasing when the Cultural ivory towers we certainly are not. Royal Academy of Music joined the system for 2013 entry and, especially from the perspective of my own I’d conclude by thanking everyone who’s been involved in institution, that drama and dance were included for entry this project, from the point of the emergence of the big in 2012. Of course, it hasn’t all been plain sailing and we idea through to where we are today as a very distinctive know that further work needs to be done, particularly in part of the UCAS family. As I see it, the challenge for relation to the full integration of dance and drama and CUKAS will be in maintaining that crucial distinctiveness in encouraging some other members of the conservatoire whilst, at the same time, benefitting from all that mother family to join. However, that’s not to detract from the UCAS has to offer. I’m confident that we can do that scale of achievement that CUKAS represents and we because, as history shows, when the conservatoire sector look forward to working with Mary Curnock Cook and gets its collective act together, the sky’s the limit …… and her colleagues at UCAS in taking our wee system to even then there’s the galaxy! greater heights of success. All the very best. One of the major benefits of CUKAS is, of course, that it produces lots of data, an intelligent analysis of which tells us quite a lot about our sector. This report is certainly replete with data but, for future years, I think that it would be sensible to present those data in terms of broad areas of specialism (e.g. dance, drama and music), which would certainly make comparative analysis easier. That’s something for my successor to take up with UCAS. Professor John Wallace CBE However, I’d draw your attention to two very broad Chairman, CUK and Principal, conclusions. Firstly, applications across the sector are on Royal Conservatoire of Scotland

3 About conservatoire education in the UK

A conservatoire is a higher education institution which degree programme: three- or four-year undergraduate offers specialised and vocational education in dance, courses (BA or BMus) and one- or two-year taught drama and/or music. postgraduate courses (Masters in Performance (classical and contemporary text), Masters in Performance (musical The particular distinguishing characteristics of a UK theatre), MMus, PG Dip etc.). These complement well conservatoire are: the framework established by the European Bologna Agreement. Conservatoires are intensely research- • a primary focus on the development and assessment active, and offer research degrees, underpinned by the of dance, drama and musical creativity, performance considerable research interests of their internationally- and production to professional standards. active composition and performance staff.

• the provision of a proto-professional learning A wide range of specialisms is offered in music drawn environment, which is rich in performance production from all corners of the professional industry, including opportunities and with an extensive public facing solo orchestral and chamber music; piano and keyboard; performance schedule. voice; opera; jazz; early music; popular music; community • the primacy of performance, composition and music; music technology; traditional music; composition production, and practice in learning, teaching, and conducting. assessment and research. Drama, dance, production and screen similarly offer a • the selection of all students through a contextualised rich palette of possibilities including acting, modern ballet auditions and interview process. and contemporary dance, contemporary performance, musical theatre, musical direction, film and television, • intensive learning and teaching methods, involving design, scenic art, stage management, technical stage high student/staff contact hours, demanding management, lighting and sound. rehearsal and production schedules and an emphasis on ensemble and group teaching and one-to-one tuition. Recruitment policy • a highly vocational portfolio of higher education The opportunity to devise, compose, write, conduct, programmes in dance, drama, music, production and perform or have their work performed on a regular basis, screen, which is demonstrably successful in producing both informally and in public, is integral to conservatoire a significant number of performing arts professionals. students’ development. Although process is as important as output, all conservatoires must maintain high calibre • an emphasis on the development and assessment of performing ensembles and creative teams in which the whole person – aesthetic, intellectual, physical and students can participate. The output is most often a emotional. public performance. The concept of ensemble is generic across all of the performing arts. In order to ensure that an • strong professional links, achieved by encouraging ensemble is artistically viable, that ensemble (or creative full-time staff to maintain an artistic and professional team) must reflect current professional practice, whether profile as well as an academic profile, and providing drama, dance, music, production or screen. In conservatoire students with many opportunities to work with part- music, for example, there exists the universal notion of an time teachers and visiting professionals. instrumental ecology which sets out the optimum number of students of each instrument based on the ratios of The institutions represented by Conservatoires UK instruments needed to make up an orchestra, band or other (CUK) now cover the disciplines of music, drama, dance, ensemble. In drama, dance, production and screen, student production and screen. and staff teams are intimate in size so that each student can benefit from peer-to-peer learning in small groups and In conservatoires, an emphasis is placed on a primary ensembles as well as receiving intense individual attention specialism within the context of a conservatoire-validated throughout their learning journey.

4 About conservatoire education in the UK

The student mix context, conservatoires work actively to widen access Conservatoires benefit immeasurably from encouraging to the performing arts and conservatoire education, both artistic and cultural diversity, and so welcome a in many cases working in partnerships with education diverse population of staff, students and visiting artists departments, schools, music services and community from different communities and countries around the groups. Conservatoire-style education is particularly world. Recognising that every student possesses a unique effective in working with disadvantaged groups in society. set of abilities, applications are encouraged from all candidates who meet the stated entry requirements. International students are warmly welcomed at Conservatoires are inclusive by their very nature. Relevant conservatoires, both as undergraduate or postgraduate support is available to students with physical learning degree students and through ERASMUS and other or hidden disabilities on an individual and (if desired) exchange programmes. Many conservatoires hold confidential basis. auditions outside the UK, offering international applicants the chance to talk to conservatoire staff, ask At the most fundamental level, conservatoires are committed to promoting equality in all activities and questions about the application process and audition in aim to provide performing, learning, teaching, working person. Conservatoires’ recruitment patterns are based and research environments free from discrimination. on extremely long-term trends. Although each individual Each conservatoire maintains its own widening access is different, the beginning trajectory for an applicant and equal opportunities policies, which can be viewed aspiring towards conservatoire entry can start up to ten on its website. Applying these principles within a broader years in advance of the application.

5 About CUKAS

The Conservatoires UK Admissions Service (CUKAS) is a small, specialised online admissions system which processes applications to undergraduate, postgraduate and other dance, drama, music, production and screen programmes at UK conservatoires. It also includes certain foundation year courses at pre-undergraduate level and some research programmes, as well as a number of specialised study programmes.

The CUKAS system handles applications for:

Conservatoire CUKAS Institution code

Birmingham Conservatoire, Birmingham (BHAMC) B34 www.conservatoire.bcu.ac.uk

Leeds College of Music, Leeds (LCM) L31 www.lcm.ac.uk

Royal Academy of Music, London (RAM) R53 www.ram.ac.uk

Royal College of Music, London (RCM) R56 www.rcm.ac.uk

Royal Northern College of Music, Manchester (RNCM) R57 www.rncm.ac.uk

Royal Conservatoire of Scotland, Glasgow (RCS) R58 www.rcs.ac.uk

Royal Welsh College of Music and Drama, Cardiff (RWCMD) R59 www.rwcmd.ac.uk

Trinity Laban Conservatoire of Music and Dance, London (TLCMD) T75 www.trinitylaban.ac.uk

The report provides information on applications to Similar to UCAS, CUKAS enables applicants to create a most programmes at the above conservatoires; further single electronic application that can be submitted to up education courses and some music technology-based to six conservatoire dance, drama, music, production and degree courses offered at CUK institutions are excluded screen courses. Importantly, applicants can also make for the CUKAS scheme, although links to individual a simultaneous application through UCAS to other UK institutions’ websites from the CUKAS website enable institutions offering these courses, although they can only students to find out about these courses and apply direct accept a place through one system. to the institution. This report provides a useful snapshot of the UK conservatoire sector at the present time. Comparison tables are provided in order to show trends.

6 The application process

The CUKAS website allows potential applicants to search Principal and second study disciplines by specialism and includes over 250 courses covering Normally, an applicant specifies the specialism they wish areas from jazz to opera and from acting to ballet. to pursue: their ‘principal study discipline’. Alongside Through a secure web interface, CUKAS users can then this, music applicants will normally be able to select a create an application, check its progress and reply to complementary or related second instrument or area offers, all using a unique ID and password. The system of study in which they will receive additional tuition. can be accessed 24 hours a day from anywhere in the Although the desire to pursue a ‘second study’ may be world, making it particularly convenient for international specified on the CUKAS application, the granting of this applicants. is normally negotiated directly with the conservatoire, outside the CUKAS system. Occasionally, however, an In each application cycle, the deadline for on-time music applicant may specify that they wish to study two applications is 1 October in the year preceding entry. instruments/areas of study concurrently and equally. In The common deadline for undergraduate dance, drama this case, a CUKAS application would be made for ‘joint or screen production courses is 15 January. The on-time principal study’. The availability of joint principal study deadline may be later in the year for international varies by institution. applicants, those applying for a postgraduate course, or to certain audition locations. Late applications may be It is common for prospective conservatoire students to considered at the discretion of individual conservatoires apply to several conservatoires and/or to request an until the close of each application cycle. Once their audition on an alternative specialism. submissions have been made, applicants enjoy an efficient follow-up service and can take advantage of a central point of contact for queries. Auditions and interviews Auditions are an integral part of the conservatoire Applicants who cannot be accommodated by the CUKAS application process. Because practical ability is the main system for any reason can apply directly to and be selection criterion for performance courses, nearly all auditioned at the conservatoires of their choice at the these applicants are auditioned. Live auditions are held discretion of the conservatoires. Any direct applicant at individual colleges or international audition centres who is successful in gaining a place can be added although international applicants may be able to retrospectively to the CUKAS system for the purpose of submit a recording. Non-performance applicants such being incorporated into statistics. This type of record as composers, screen production applicants and theatre is known as a Record of Prior Acceptance, or RPA (see design applicants are usually asked to submit a portfolio overleaf). or additional work and may also be invited to an interview.

Supporting CUKAS users

Comprehensive advice for applicants, advisers, referees The CUKAS system is regularly reviewed by both CUK and CUK staff is available on the CUKAS website. and UCAS to identify and act on any potential areas for Additionally, UCAS runs dedicated help lines for applicants development or improvement. and for conservatoire admissions staff.

7 Terminology

Populations Applicants who were accepted through Records of Prior Acceptance (defined below) are included in the placed Applicants population. Applicants who were placed but subsequently Applicant counts in this report provide the number of withdrew their application are not included in the placed applicants who submitted a completed CUKAS application applicant population. through the CUKAS scheme for 2011, 2012 or 2013 entry. The population will include any applicants who applied Record of Prior Acceptance (RPA) for entry by an alternative application method, but who were later added to the CUKAS system through a Record Applicants were encouraged to apply through CUKAS of Prior Acceptance (defined below). between the published application dates; however, not all applicants are able to do so. To ensure that information about all those applying to and accepted by The applicant population will include: conservatoires was as complete as possible, a Record of • applicants who applied for ‘deferred entry’ (entry in Prior Acceptance (RPA) was available to collect details of the following academic year) individuals who did not apply through the main CUKAS application scheme. The RPA captured summary details • applicants who applied but subsequently ‘withdrew’ of the applicant and course, as well as principal and their application (defined below) during the cycle secondary areas of study. Information about individuals who were accepted using the RPA process is shown as a • applicants who were added to the CUKAS system separate line in data table 1a. through Records of Prior Acceptance

The applicant population will exclude: Unplaced applicants Applicants who either were rejected by all the institutions • applicants who ‘cancelled’ their application (defined to which they applied, declined any offers they held, or below) withdrew their application at any stage in the CUKAS cycle are defined as ‘unplaced’. Offers When an institution makes a decision about an applicant’s Withdrawn applicants (withdrawals) choice with either a guaranteed unconditional (GU) or A count of the number of applicants who withdrew guaranteed conditional (GC) decision, that applicant is their entire CUKAS application at any point during the deemed to have received an ‘offer’. Where figures are application cycle. provided at an applicant level, applicants have been counted once regardless of how many offers they received. Cancelled applicants Applicants who cancel their application within seven days Placed applicants of receiving their welcome letter receive a full refund Applicants are defined as ‘placed’ when they are holding of their application fees and any audition fees paid to a choice with a ‘GU1’ state at the end of the application CUKAS. Applications may also be cancelled due to the cycle. A ‘GU1’ choice state occurs when an applicant has identification of a duplicate application, if fraudulent been offered a guaranteed unconditional (GU) place on activity is suspected, or in the case of the death of the a course, and the applicant selects this offer as their first applicant. Cancelled applications are not included in any choice. of the populations in this report.

8 Terminology

Data definitions Ethnicity Ethnicity data is requested on the CUKAS application Age from UK domiciled applicants only. The applicant can The age of an applicant is calculated from the date choose not to provide this information. of birth stated on their application. The assigning of applicants to age categories is based on the age they will be at the end of the September just prior to the start of Level of study their course. Most of the tables in this report are split into postgraduate (PG) and undergraduate (UG) levels of study. For the purposes of this report, all data concerning Graduate Disability Diploma, Postgraduate Certificate/Diploma and Disability information is requested from all applicants on Postgraduate Degree courses have been included with the CUKAS application. postgraduate (PG) data; similarly, all gap year, pre- graduate and exchange programmes have been included Domicile with undergraduate (UG) data. Domicile data is derived from the applicant’s home postcode for UK applicants, and the area of permanent residence for overseas applicants.

9 Tables 1a and 1b

Table 1a - Applicant summary, 2013

Gender Male % Male Female % Female Total Applicants 2,970 39.4 4,570 60.6 7,540 Accepted applicants 892 47.0 1,004 53.0 1,896 (of which were RPAs) 23 41.1 33 58.9 56 Unplaced applicants 2,078 36.8 3,566 63.2 5,644 (of whom were withdrawals) 127 43.2 167 56.8 294

Table 1a shows the split of applicants by gender and by their final status, whether they were accepted onto a course (including RPAs) or not placed (including withdrawn applicants).

The percentages show the split between male and female applicants (e.g. 60.6% of applicants were female).

Table 1b - Applicant summary, 2011-2013

Year 2011 % 2011 2012 % 2012 2013 % 2013 Applicants 3,914 6,063 7,540 Accepted applicants 1,318 33.7 1,489 24.6 1,896 25.1 Unplaced applicants 2,596 66.3 4,574 75.4 5,644 74.9

Table 1b shows a year-on-year comparison for applicants split by their final status, whether they were accepted or not placed, for the last three years.

The percentages show the split each year between accepted and unplaced applicants.

Note 1: Tables that provide CUKAS applicant numbers by level of study (UG/PG splits) or mode of study (full-time/part-time splits) may not total to the same sum as figures presented in these summary tables. This is because applicants may apply to courses at different levels and/or modes of study and therefore would be duplicated in applicant tables with such splits.

Note 2: The increase in the number of 2012 applicants compared to previous entry years can be attributed to the additional new CUKAS courses for 2012 entry. The majority of these are dance, drama production and drama performance category courses.

Note 3: The Royal Academy of Music joined the CUKAS scheme for 2013 entry.

10 Table 2

Table 2 - Institution summary, 2013

Level BHAM C LCM RAM RCM RCS RNCM RWCMD TLCMD TOTAL Applicants 664 – 825 929 2,242 915 1,445 1,314 8,334 Applicants offered places 336 – 195 261 341 363 268 556 2,320 UG Accepted applicants 131 – 113 120 224 186 114 167 1,055 Unplaced applicants 533 – 712 809 2,018 729 1,331 1,147 7,279 Withdrawals 51 – 53 58 58 55 49 72 396 Applicants 249 60 1,051 990 580 412 610 454 4,406 Applicants offered places 151 30 298 378 180 230 194 281 1,742 PG Accepted applicants 69 12 194 174 98 109 124 61 841 Unplaced applicants 180 48 857 816 482 303 486 393 3,565 Withdrawals 13 4 55 38 24 31 16 14 195

Table definitions

Applicants – number of CUKAS applicants with at least one choice to the specified conservatoire.

Applicants offered places – applicants who received at least one guaranteed unconditional (GU) or guaranteed conditional (GC) decision at the specified conservatoire (includes applicants who later withdrew).

Accepted applicants – applicants with a ‘GU1’ choice state (guaranteed unconditional offer at their first choice) at the specified conservatoire.

Unplaced applicants – the number of applicants to the specified conservatoire who were not placed at that conservatoire.

Withdrawals – number of applicants to the specified conservatoire who withdrew their application at some point before the close of the application cycle.

Note 1: ‘Graduate diploma’ and ‘Doctoral Programme’ courses are included within ‘PG’ level in this report. ‘Gap year’, ‘Flexible’, ‘Individualised’, Junior Year’ and ‘Semester Experience’ courses are included within ‘UG’ in this report.

Note 2: The table above will not add up to the total number of applicants, due to applicants being able to apply to both levels (UG/PG) and to more than one conservatoire. The number of accepted applicants will add up to the total of accepted applicants in the other tables.

Note 3: From the 2011 admissions cycle Leeds College of Music (L31) ceased offering undergraduate (UG) courses through the CUKAS scheme. The conservatoire now offers UG courses through the main UCAS scheme, but continues to use CUKAS for postgraduate course applications.

Note 4: The Royal Academy of Music joined the CUKAS scheme for 2013 entry.

Conservatoire details: BIRMC B34 – Birmingham Conservatoire LCM L31 – Leeds College of Music RAM R53 – Royal Academy of Music RCM R56 – Royal College of Music RCS R58 – Royal Conservatoire of Scotland RNCM R57 – Royal Northern College of Music RWCMD R59 – Royal Welsh College of Music and Drama TLCMD T75 – Trinity Laban Conservatoire of Music and Dance

11 Tables 3a and figure 1a

Table 3a - Age of UG applicants, 2011-2013

Year % change Age 2011 2012 2013 2012-13 Male Female Total Under 21 1,849 3,281 1,495 2,446 3,941 20.1 21-24 298 621 315 429 744 19.8 25-39 114 228 111 102 213 -6.6 40 and over 9 24 8 11 19 -20.8 Total 2,270 4,154 1,929 2,988 4,917 18.4

Figure 1a: UG applicants by age

4,500 3,941 4,000 3,281 3,500

3,000 Under 21 2,500 21-24 1,849 2,000 25-39 1,500 40 and over 744 1,000 621 298 228 213 500 114 9 24 19 0 2011 2012 2013

Tables 3a shows a year-on-year comparison for applicants split by age group (and by gender for the latest year).

Note 1: The increase in the number of 2012 applicants compared to previous entry years can be attributed to the additional new CUKAS courses for 2012 entry. The majority of these are dance, drama production and drama performance category courses.

Note 2: The Royal Academy of Music joined the CUKAS scheme for 2013 entry.

12 Tables 3b and figure 1b

Table 3b - Age of PG applicants, 2011-2013

Year % change Age 2011 2012 2013 2012-13 Male Female Total Under 21 47 77 23 48 71 -8.5 21-24 1,006 1,213 629 1,006 1,635 25.8 25-39 632 707 401 584 985 28.2 40 and over 29 37 26 23 49 24.5 Total 1,714 2,034 1,079 1,661 2,740 25.8

Figure 1b: PG applicants by age

1800 1,635 1600

1400 1,213 1200 1,006 985 Under 21 1000 21-24 707 800 632 25-39 600 40 and over 400

200 47 29 77 37 71 49 0 2011 2012 2013

Tables 3b shows a year-on-year comparison for applicants split by age group (and by gender for the latest year).

Note 2: The Royal Academy of Music joined the CUKAS scheme for 2013 entry.

13 Tables 4a and 4b

Table 4a - Disability of UK domiciled UG applicants, 2011-2013

2011 2012 2013 Disability Applicants Accepts Applicants Accepts Applicants Accepts No disability 1,598 558 2,941 617 3,281 733 Learning difficulty 95 32 228 38 294 49 Blind/partial sight <5 <5 <5 <5 5 <5 Deaf/partial hearing <5 <5 7 <5 6 <5 Wheelchair/mobility 5 <5 6 <5 12 <5 Autistic disorder 18 7 33 8 28 <5 Mental health 12 <5 33 7 33 <5 Multiple disabilities 9 <5 12 <5 9 <5 Long standing illness 10 <5 26 <5 28 7 Other disability 15 <5 30 <5 32 <5 Total 1,767 612 3,319 678 3,728 805

Table 4b - Disability of UK domiciled PG applicants, 2011-2013

2011 2012 2013 Disability Applicants Accepts Applicants Accepts Applicants Accepts No disability 884 295 1,055 328 1,331 394 Learning difficulty 40 15 72 23 99 33 Blind/partial sight <5 <5 <5 <5 <5 <5 Deaf/partial hearing <5 <5 <5 <5 <5 <5 Wheelchair/mobility <5 <5 <5 <5 <5 <5 Autistic disorder <5 <5 <5 <5 5 <5 Mental health <5 <5 15 5 14 <5 Multiple disabilities <5 <5 <5 <5 5 <5 Long standing illness 10 <5 12 <5 12 5 Other disability 6 <5 12 <5 9 <5 Total 950 319 1,175 367 1,478 440

Tables 4a and 4b show a year-on-year comparison of applicants and accepts split by disability, for UK-domiciled applicants only (based on area of permanent residence).

Cell values of 0,1,2,3 and 4 have been replaced with “<5”.

14 Tables 5a and 5b

Table 5a - Domicile of UG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts East Midlands 115 48 136 36 165 51 Eastern 142 50 162 42 242 68 Greater London 221 69 293 62 387 82 North East 27 12 49 8 77 19 North West 173 62 300 85 306 88 Northern Ireland 30 7 71 9 59 10 Other UK 2 0 0 0 0 0 Scotland 287 87 1,043 173 1,041 150 South East 258 91 336 68 424 108 South West 154 55 261 50 302 60 Wales 128 49 349 66 304 66 West Midlands 121 42 180 49 216 48 Yorkshire and the Humber 109 40 139 30 205 55 UK sub-total 1,767 612 3,319 678 3,728 805 EU 251 58 409 74 585 109 Non-EU 252 88 426 96 604 141 Total 2,270 758 4,154 848 4,917 1,055

Table 5b - Domicile of PG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts East Midlands 43 12 31 13 52 19 Eastern 72 23 95 30 98 26 Greater London 270 74 269 66 420 118 North East 12 5 18 8 20 4 North West 85 28 108 40 116 46 Northern Ireland 9 4 17 3 34 8 Other UK 7 1 0 0 0 0 Scotland 102 49 158 52 172 54 South East 126 49 131 37 186 45 South West 67 24 85 27 101 33 Wales 57 20 119 44 128 40 West Midlands 55 21 83 25 77 19 Yorkshire and the Humber 45 9 61 22 74 28 UK sub-total 950 319 1,175 367 1,478 440 EU 289 84 259 70 440 131 Non-EU 475 157 600 204 822 270 Total 1,714 560 2,034 641 2,740 841

Tables 5a and 5b show a year-on-year comparison of applicants and accepts split by area of permanent residence.

Note 1: West Midlands PG accepts was 25 in 2012 but reported as 21 in 2012 CUKAS Annual Report.

15 Tables 6a and 6b

Table 6a - Top five EU countries (excl. UK) for UG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts France (2) 46 9 39 7 71 17 Italy (5) 7 1 28 3 65 6 Ireland (1) 22 3 54 6 57 5 Spain (3) 33 6 37 10 43 10 Sweden (10) 19 3 20 1 41 6 Other EU 124 36 231 47 308 65 Total 251 58 409 74 585 109

Previous year’s ranking shown in brackets.

Table 6b - Top five EU countries (excl. UK) for PG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts Spain (1) 80 21 42 7 59 17 France (4) 33 9 27 7 56 20 Italy (3) 24 5 31 5 48 9 Ireland (2) 25 7 31 11 42 11 Sweden (5) 11 0 18 4 31 5 Other EU 116 42 110 36 204 69 Total 289 84 259 70 440 131

Previous year’s ranking shown in brackets.

Tables 6a and 6b show a year-on-year comparison of applicants and accepts from the top EU countries.

16 Tables 7a and 7b

Table 7a - Top five non-EU countries for UG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts United States of America (1) 32 5 119 19 153 23 Norway (5) 11 3 26 2 58 11 Singapore (3) 17 9 30 8 54 19 China (4) 34 14 27 11 45 20 Hong Kong (2) 23 7 33 10 40 9 Other Non EU 135 50 191 46 254 59 Total 252 88 426 96 604 141

Previous year’s ranking shown in brackets.

Table 7b - Top five non-EU countries for PG applicants, 2011-2013

2011 2012 2013 Domicile Applicants Accepts Applicants Accepts Applicants Accepts United States of America (1) 97 26 139 39 220 68 China (2) 74 30 88 38 130 42 Australia (4) 48 14 44 19 59 24 Canada (3) 20 3 52 12 54 21 Taiwan (7) 29 13 30 9 44 24 Other Non EU 207 71 247 87 315 91 Total 475 157 600 204 822 270

Previous year’s ranking shown in brackets.

Tables 7a and 7b show a year-on-year comparison of applicants and accepts from the top non-EU countries.

17 Table 8

Table 8 - UK domiciled UG applicants aged 17-19 by POLAR2 quintile, 2011-2013

Year POLAR2 quintile 2011 2012 % change 2011-12 2013 % change 2012-13 Quintile 1 72 141 95.8 198 40.4 Quintile 2 143 251 75.5 304 21.1 Quintile 3 236 395 67.4 460 16.5 Quintile 4 365 594 62.7 623 4.9 Quintile 5 521 948 82.0 1,060 11.8 Unknown 18 40 122.2 43 7.5 Total 1,355 2,369 74.8 2,688 13.5

Table 8 shows the split of UK-domiciled UG applicants by their postcode classification.

The POLAR2 (Participation of Local Areas 2) classification groups small areas across the UK into five quintile groups according to their rate of young participation in higher education in the early 2000s.

In quintile 1 less than 1 in 5 young people enter higher education compared to well over half in quintile 5.

Each quintile represents around 20 percent of the young population. Further information on the POLAR2 classification can be found on the HEFCE website (www.hefce.ac.uk/whatwedo/wp/ourresearch/polar).

The POLAR2 Young Participation Rate classification has been applied (by using the recorded home postcode of the applicant) to UK domiciled applicant data for those aged 17-19 years.

Unknown includes applicants whose postcode is either missing or has not been matched in the system.

Figure 2: UK domiciled UG applicants aged 17-19 by POLAR2 quintile, 2011-2013

1,200

1,000

800 2011 600 2012

400 2013

200

0 Quintile 1 Quintile 2 Quintile 3 Quintile 4 Quintile 5 Unknown

18 Tables 9a and 9b

Table 9a - Ethnicity of UK-domiciled UG applicants by gender, 2013

Gender Ethnicity Male Female Total % Asian 31 20 51 1.4 Black 20 29 49 1.3 Mixed 52 86 138 3.7 Not known 13 10 23 0.6 Other 6 14 20 0.5 White 1,428 2,019 3,447 92.5 Total 1,550 2,178 3,728 100.0

See figures 3a, c, e, g, i.

Table 9b - Ethnicity of UK-domiciled PG applicants by gender, 2013

Gender Ethnicity Male Female Total % Asian 18 19 37 2.5 Black 7 4 11 0.7 Mixed 20 30 50 3.4 Not known 11 16 27 1.8 Other 9 5 14 0.9 White 553 786 1,339 90.6 Total 618 860 1,478 100.0

See figures 3b, d, e, f, j.

Tables 9a and 9b show the ethnicity and gender split of UK-domiciled applicants for the latest year.

The percentage is the proportion of each ethnicity of the total.

19 Figures 3a - 3j

Apps - applicants Accs - accepted applicants

Columns with at least one value less than five have been removed.

Figure 3a: White UG applicants and acceptances by gender, 2011-2013

4,000 F 3,500

3,000

2,500 2019 1787 M 2,000

1,500 837 1,000 1428 1304 352 500 796 276 307 298 321 394 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3b: White PG applicants and acceptances by gender, 2011-2013

1,800

1,600

1,400 F

1,200

1,000 786 800 M 646 600 457

400 186 189 553 200 379 141 424 150 143 210 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3c: Asian UG applicants and acceptances by gender, 2011-2013

50 F

40 20 31 30 M

20 15 31 11 10 21 7 13 8 6 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3d: Asian PG applicants and acceptances by gender, 2011-2013 60

50 F

30 19 17 M 17 20

10 18 9 16 14 6 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3e: Mixed UG applicants and acceptances by gender, 2011-2013

140

120 F

100 86

80 M 59 60 27 40 52 20 33 37 14 7 11 8 12 0 6 Apps Accs Apps Accs Apps Accs 2011 2012 2013

20 Figure 3f: Mixed PG applicants and acceptances by gender, 2011-2013 60

50 F

40 30 30 20 M 22 20

20 8 10 17 7 11 5 7 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3g: Black UG applicants and acceptances by gender, 2011-2013

50 45 F 40 35 29 30 M 25 23

20 13 15 10 20 13 5 12 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3h: Black PG applicants and acceptances by gender, 2011-2013

25 F

15 M 10 5 5 5 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3i: Other UG applicants and acceptances by gender, 2011-2013

20 F

15 14 M 10 5 5 5 6 0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

Figure 3j: Other PG applicants and acceptances by gender, 2011-2013

25 F

15 M 5 10

5 9

0 Apps Accs Apps Accs Apps Accs 2011 2012 2013

21 Table 10a (1 of 3)

Table 10a - Applicants by principal study discipline, 2013

Course level, study mode, gender UG PG Principal study discipline FT FT PT Total M F M F M F Dance 98 511 24 131 3 32 799 Drama Performance 663 1,128 142 309 0 0 2,242 Drama Production 132 109 13 42 1 6 303 drama Dance / Dance / drama total 893 1,748 179 482 4 38 3,344 Clarinet (Jazz) 2 2 0 1 0 0 5 Composition (Jazz) 0 0 0 0 1 0 1 Double Bass (Jazz) 7 1 1 0 1 0 10 Drumkit (Jazz) 28 1 3 0 3 0 35 Electric bass (jazz) 2 0 0 0 0 0 2 Flute (Jazz) 0 1 0 1 0 0 2 Guitar (Jazz Acoustic) 2 0 1 0 1 0 4 Guitar (Jazz Electric Bass) 11 1 1 0 0 0 13 Guitar (Jazz Electric Bass)/Jazz Double Bass 2 0 0 0 0 0 2 Guitar (Jazz Electric Lead) 22 3 7 0 0 0 32 Guitar (Jazz) 25 0 2 0 0 0 27

Jazz Percussion (Jazz) 12 1 4 0 0 0 17 Piano (Jazz) 21 1 7 3 4 0 36 Saxophone (Alto) Jazz 12 2 3 0 0 0 17 Saxophone (Baritone) Jazz 1 0 0 0 0 0 1 Saxophone (Jazz) 22 3 7 1 0 0 33 Saxophone (Tenor) Jazz 13 0 2 1 2 0 18 Trombone (Jazz) 8 1 2 0 0 0 11 Trumpet (Jazz) 12 0 1 0 1 0 14 Violin (Jazz) 0 0 2 0 0 1 3 Voice (Jazz) 7 33 3 6 0 5 54 Jazz total 209 50 46 13 13 6 337 Accordion 0 7 5 0 0 0 12 Button Accordion 1 0 0 0 0 0 1 Cello (Scottish Traditional Music) 1 0 0 0 0 0 1 Fiddle 5 8 2 2 0 0 17 Gaelic Song 0 1 0 1 0 0 2 Highland Bagpipes 7 2 0 0 0 0 9 Piano (Scottish Traditional Music) 3 2 0 0 0 0 5 Piano Accordion 1 1 0 0 0 0 2 Scots Song 1 2 0 2 0 0 5 Scottish Harp 0 7 0 0 0 0 7 Scottish / Indian music Snare Drum 2 2 0 0 0 0 4 Whistle 2 2 0 0 0 0 4 Scottish / Indian music total 23 34 7 5 0 0 69

22 Table 10a (2 of 3)

Course level, study mode, gender UG PG Principal study discipline FT FT PT Total M F M F M F Composition 125 32 79 17 9 2 264 Composition & Technology 0 0 3 0 1 0 4 Composition for Screen 0 0 54 8 0 0 62 Conducting 0 0 26 3 0 0 29 Conducting (Brass Band) 0 0 1 0 0 0 1 Conducting (Choral) 0 0 16 7 0 1 24 Conducting (Orchestral) 0 0 40 6 1 0 47 Music Technology 2 1 3 1 0 0 7 Musical Direction and Coaching 0 0 11 0 0 0 11 Musicology 0 0 1 1 0 0 2

technology, popular music Performance Science 0 0 3 5 4 1 13

Composition, musicology, music Composition, musicology, music technology, popular music total 127 33 237 48 15 4 464 Fortepiano 0 1 0 0 0 0 1 Guitar (Acoustic) 25 2 7 3 0 0 37 Guitar (Bass) 11 0 0 0 0 0 11 Guitar (Classical) 45 7 19 3 3 0 77 Guitar (Electric) 38 1 1 0 0 0 40 Harpsichord 0 0 3 1 0 0 4 Musical Theatre 0 0 56 172 0 0 228 Organ 8 2 2 4 1 0 17 Piano 123 187 100 153 4 4 571 Piano (Accompaniment) 0 0 11 25 0 1 37 Piano/Keyboards 6 4 1 0 0 0 11 Recorder 1 5 2 0 0 0 8 Repetiteur 0 0 6 3 0 0 9 Voice 28 73 2 15 1 3 122 Voice (Alto) 0 12 0 7 0 0 19 Voice (Alto/Mezzo) Opera 0 0 0 22 0 0 22 Voice (Baritone) 44 0 41 0 1 0 86 Voice (Bass) 11 0 4 0 1 0 16 Voice (Bass/Bar) Opera 0 0 16 0 0 0 16 Voice (Bass-Baritone) 47 0 76 0 1 0 124 Voice (Bass-Baritone) Early Music 0 0 1 0 0 0 1 Voice (Contralto) 0 5 0 4 0 0 9

Non-orchestral / band instruments Voice (Counter-Tenor) 13 0 21 0 0 0 34 Voice (Counter-Tenor) Early Music 1 0 0 0 0 0 1 Voice (Counter-Tenor) Opera 0 0 1 0 0 0 1 Voice (Male Soprano) 1 0 0 0 0 0 1 Voice (Mezzo-Soprano) 0 157 0 143 0 6 306 Voice (Soprano) 0 336 1 310 0 15 662 Voice (Soprano) Early Music 0 1 0 0 0 0 1 Voice (Soprano) Opera 0 0 0 45 0 0 45 Voice (Tenor) 61 0 91 0 4 0 156 Voice (Tenor) Opera 0 0 19 0 0 0 19 Non-orchestral / band instruments total 463 793 481 910 16 29 2,692

23 Table 10a (3 of 3)

Course level, study mode, gender UG PG Principal study discipline FT FT PT Total M F M F M F Bassoon 11 16 7 9 0 1 44 Cello 34 52 31 42 1 4 164 Cello (Baroque) 0 0 2 0 0 0 2 Clarinet 30 37 27 17 1 0 112 Clarinet (Bass) 0 0 1 1 0 0 2 Clarinet (Classical) 1 0 0 1 0 0 2 Clarinet (Theatre doubling) 0 0 1 0 0 0 1 Cornet 14 13 0 0 0 0 27 Double Bass 17 9 13 11 0 0 50 Double Bass (Baroque) 0 0 0 1 0 0 1 Drumkit 28 1 3 0 2 0 34 Euphonium 14 3 6 2 0 0 25 Flute 24 75 13 58 0 2 172 Flute (Baroque) 0 0 0 1 0 0 1 Harp 4 21 4 17 1 1 48 Horn (Baritone) 2 0 0 0 0 0 2 Horn (French) 13 10 13 11 0 1 48 Horn (Natural) 0 0 0 1 0 0 1 Horn (Tenor) 3 4 0 2 0 0 9 Marimba 0 0 2 1 0 0 3 Oboe 8 23 5 11 0 1 48 Oboe (Baroque) 0 1 1 2 0 0 4 Organ & Church Music 0 0 0 1 0 0 1 Percussion (Orchestral) 1 0 0 0 0 0 1 Percussion (Orchestral) & Drumkit 7 1 0 0 0 0 8 Percussion (Orchestral) & Timpani 30 7 12 4 0 0 53 Saxophone 17 25 12 5 1 0 60 Saxophone (Alto) 5 15 4 1 0 0 25 Saxophone (Baritone) 0 0 1 0 0 0 1 Saxophone (Soprano) 0 1 0 1 0 0 2

Orchestral, band and early music ensemble instruments Orchestral, Saxophone (Tenor) 1 1 0 0 0 0 2 Saxophone (Theatre doubling) 0 0 2 1 0 0 3 Trombone (Bass) 5 1 7 1 0 0 14 Trombone (Tenor) 20 7 8 5 1 0 41 Trumpet 51 28 18 4 1 0 102 Tuba 11 2 3 1 0 0 17 Viola 16 27 13 26 2 2 86 Viola (Baroque) 0 0 1 0 0 0 1 Viola da Gamba 0 0 0 2 0 0 2 Violin 78 152 46 110 2 5 393 Violin (Baroque) 2 1 3 8 0 0 14 Orchestral, band and early music 447 533 259 358 12 17 1,626 ensemble instruments total Grand total 2,152 3,191 1,209 1,816 60 94 8,532

24 Table 10b (1 of 3)

Table 10b - Applicants and acceptances by principal study discipline, 2012-2013

Course level, population UG PG Principal study discipline Applicants Acceptances Applicants Acceptances 2012 2013 2012 2013 2012 2013 2012 2013 Dance 86 609 13 72 0 190 0 29 Drama Performance 1,733 1,791 76 83 366 451 52 56 Drama Production 222 241 49 46 59 62 26 28 drama Dance / Dance / drama total 2,041 2,641 138 201 425 703 78 113 Clarinet (Jazz) 3 4 0 1 0 1 0 0 Composition (Jazz) 0 0 0 0 1 1 1 1 Double Bass (Jazz) 6 8 3 3 3 2 1 1 Drumkit (Jazz) 25 29 4 7 15 6 2 2 Electric bass (jazz) 0 2 0 0 0 0 0 0 Flute (Jazz) 1 1 0 0 1 1 0 0 Guitar (Jazz Acoustic) 0 2 0 1 1 2 0 2 Guitar (Jazz Electric Bass) 12 12 2 4 2 1 1 0 Guitar (Jazz Electric Bass)/Jazz Double Bass 3 2 0 0 1 0 0 0 Guitar (Jazz Electric Lead) 20 25 3 3 9 7 0 3 Guitar (Jazz) 6 25 2 2 1 2 0 1

Jazz Percussion (Jazz) 0 13 0 1 0 4 0 1 Piano (Jazz) 29 22 6 6 8 14 1 2 Saxophone (Alto) Jazz 22 14 2 3 5 3 1 0 Saxophone (Baritone) Jazz 2 1 0 0 0 0 0 0 Saxophone (Jazz) 25 25 5 6 6 8 4 3 Saxophone (Tenor) Jazz 13 13 4 1 9 5 0 2 Trombone (Jazz) 4 9 2 5 4 2 1 0 Trumpet (Jazz) 12 12 5 4 4 2 0 0 Violin (Jazz) 1 0 0 0 2 3 1 1 Voice (Jazz) 31 40 2 6 10 14 1 3 Jazz total 215 259 40 53 82 78 14 22 Accordion 2 7 1 3 0 5 0 0 Button Accordion 1 1 0 1 0 0 0 0 Cello (Scottish Traditional Music) 1 1 0 1 0 0 0 0 Fiddle 19 13 5 3 0 4 0 2 Gaelic Song 6 1 1 0 0 1 0 0 Highland Bagpipes 15 9 5 4 2 0 1 0 Piano (Scottish Traditional Music) 9 5 1 2 0 0 0 0 Piano Accordion 3 2 1 1 0 0 0 0 Scots Song 5 3 1 2 0 2 0 2 Scottish Harp 2 7 1 3 1 0 1 0 Snare Drum 2 4 1 0 0 0 0 0 Scottish / Indian music Whistle 5 4 1 2 0 0 0 0 Tabla 1 0 0 0 0 0 0 0 Whistle 0 5 0 1 0 0 0 0 Scottish / Indian music total 70 57 18 22 3 12 2 4

25 Table 10b (2 of 3)

Course level, population UG PG Principal study discipline Applicants Acceptances Applicants Acceptances 2012 2013 2012 2013 2012 2013 2012 2013 Composition 151 157 30 48 99 107 34 32 Composition & Technology 0 0 0 0 1 4 1 0 Composition for Screen 0 0 0 0 38 62 13 16 Conducting 2 0 0 0 40 29 5 6 Conducting (Brass Band) 0 0 0 0 0 1 0 0 Conducting (Choral) 0 0 0 0 6 24 4 12 Conducting (Orchestral) 0 0 0 0 14 47 3 6 Music Technology 9 3 3 1 3 4 2 1 Musical Direction and Coaching 0 0 0 0 0 11 0 2 Musicology 0 0 0 0 2 2 0 0

technology, popular music Performance Science 0 0 0 0 16 13 11 6

Composition, musicology, music Composition, musicology, music technology, popular music total 162 160 33 49 219 304 73 81 Fortepiano 0 1 0 1 1 0 0 0 Guitar (Acoustic) 36 27 4 8 4 10 2 2 Guitar (Bass) 8 11 4 7 0 0 0 0 Guitar (Classical) 49 52 20 18 20 25 5 12 Guitar (Electric) 20 39 5 9 3 1 1 0 Harpsichord 4 0 3 0 4 4 1 2 Musical Theatre 0 0 0 0 0 228 0 29 Organ 14 10 6 7 9 7 2 4 Piano 314 310 100 113 246 261 99 100 Piano (Accompaniment) 0 0 0 0 48 37 11 15 Piano/Keyboards 4 10 2 5 1 1 1 1 Recorder 12 6 4 2 2 2 2 0 Repetiteur 0 0 0 0 14 9 6 0 Voice 76 101 14 14 14 21 2 4 Voice (Alto) 8 12 0 3 8 7 2 0 Voice (Alto/Mezzo) Opera 0 0 0 0 0 22 0 3 Voice (Baritone) 45 44 18 19 32 42 12 7 Voice (Bass) 8 11 4 5 5 5 2 2 Voice (Bass/Bar) Opera 0 0 0 0 0 16 0 4 Voice (Bass-Baritone) 53 47 7 11 51 77 8 19 Voice (Bass-Baritone) Early Music 0 0 0 0 0 1 0 0 Voice (Contralto) 6 5 0 0 2 4 0 0

Non-orchestral / band instruments Voice (Counter-Tenor) 12 13 2 4 7 21 2 3 Voice (Counter-Tenor) Early Music 0 1 0 0 0 0 0 0 Voice (Counter-Tenor) Opera 0 0 0 0 0 1 0 0 Voice (Male Soprano) 0 1 0 0 0 0 0 0 Voice (Mezzo-Soprano) 146 157 28 30 106 149 26 27 Voice (Soprano) 265 336 47 62 290 326 60 74 Voice (Soprano) Early Music 0 1 0 1 0 0 0 0 Voice (Soprano) Opera 0 0 0 0 0 45 0 3 Voice (Tenor) 56 61 21 17 74 95 25 33 Voice (Tenor) Opera 0 0 0 0 0 19 0 3 Non-orchestral / band instruments total 1,136 1,256 289 336 941 1,436 269 347

26 Table 10b (3 of 3)

Course level, population UG PG Principal study discipline Applicants Acceptances Applicants Acceptances 2012 2013 2012 2013 2012 2013 2012 2013 Bassoon 17 27 7 16 14 17 5 6 Cello 87 86 32 43 54 78 21 36 Cello (Baroque) 0 0 0 0 0 2 0 1 Clarinet 64 67 26 21 44 45 13 22 Clarinet (Bass) 0 0 0 0 2 2 0 0 Clarinet (Classical) 2 1 0 0 0 1 0 0 Clarinet (Theatre doubling) 0 0 0 0 1 1 0 0 Cornet 18 27 7 8 0 0 0 0 Double Bass 23 26 8 13 12 24 8 7 Double Bass (Baroque) 0 0 0 0 0 1 0 1 Drumkit 23 29 4 8 6 5 1 0 Euphonium 25 17 14 9 9 8 5 6 Flute 103 99 28 26 89 73 28 27 Flute (Baroque) 0 0 0 0 3 1 0 0 Harp 20 25 12 13 8 23 4 7 Horn (Baritone) 2 2 0 1 0 0 0 0 Horn (French) 26 23 14 12 14 25 8 12 Horn (Natural) 0 0 0 0 0 1 0 1 Horn (Tenor) 6 7 3 3 1 2 0 2 Lute 0 0 0 0 2 0 1 0 Lute/Theorbo 0 0 0 0 1 0 1 0 Marimba 0 0 0 0 2 3 2 2 Oboe 30 31 19 16 18 17 7 9 Oboe (Baroque) 0 1 0 0 0 3 0 2 Organ & Church Music 0 0 0 0 0 1 0 0 Percussion (Orchestral) 2 1 0 0 0 0 0 0 Percussion (Orchestral) & Drumkit 5 8 1 1 0 0 0 0 Percussion (Orchestral) & Timpani 44 37 17 20 12 16 8 8 Sackbut 0 0 0 0 1 0 0 0 Saxophone 51 42 12 16 12 18 6 6 Saxophone (Alto) 21 20 6 5 10 5 0 1 Saxophone (Baritone) 0 0 0 0 0 1 0 0

Orchestral, band and early music ensemble instruments Orchestral, Saxophone (Soprano) 1 1 0 0 0 1 0 0 Saxophone (Tenor) 3 2 1 0 2 0 0 0 Saxophone (Theatre doubling) 0 0 0 0 1 3 0 0 Trombone (Bass) 5 6 1 4 3 8 1 3 Trombone (Tenor) 32 27 14 14 14 14 6 5 Trumpet 63 79 18 31 28 23 14 12 Trumpet (Natural) 0 0 0 0 3 0 1 0 Tuba 19 13 7 5 4 4 1 3 Viola 57 43 21 21 31 43 13 19 Viola (Baroque) 0 0 0 0 1 1 0 0 Viola da Gamba 0 0 0 0 2 2 0 2 Violin 178 230 68 102 148 163 55 72 Violin (Baroque) 0 3 0 2 1 11 0 6 Orchestral, band and early music 927 980 340 410 553 646 209 278 ensemble instruments total Grand total 4,551 5,353 858 1,071 2,223 3,179 645 845

27 Notes on table 10

1. Table 10 does not aim to give accurate totals once for trumpet and once for piano. This reflects the of applications per discipline. Rather, it gives a fact that, having attained a sufficient level of practical broad snapshot of the health of the music education ability in two areas, the applicant could have been sector by illustrating the skills present in the applicant placed in either principal study, but can only attend one pool. conservatoire. The number of applications in a discipline therefore gives a rough idea of how skilled the application Applicants were counted once against each principal population is in that discipline. study discipline for which they applied. However, they were counted only once per principal study discipline, regardless Additionally, applicants are duplicated in the table where of how many applications they made in that discipline. they applied to more than one course level (UG, PG) For instance, if an individual applied for principal study and/or study mode (full-time, part-time). In particular, this in trumpet at three conservatoires and prinicipal study in helps to show the level of interest in and practicality of piano at two conservatoires,that applicant was counted different modes of study.

2. For the purpose of this report, courses with an were six principal study disciplines which had more than original qualification type recorded as ‘Other’ have 15 applicants. These are shown below together with the been appropriately split between UG and PG (see breakdown of applicant numbers split between UG and Table 2 note 1). In 2013, within those courses, there PG courses.

Instruments UG PG Total Dance 89 0 89 Violin 12 3 15 Voice (Alto/Mezzo) Opera 0 22 22 Voice (Bass/Bar) Opera 0 16 16 Voice (Soprano) Opera 0 45 45 Voice (Tenor) Opera 0 19 19 Total 101 105 206

3. The instruments listed below were available, but • the instrument was superseded by another instrument received no applications during the 2013 entry cycle. This name and therefore withdrawn before receiving any may be for one or more of the following reasons: applications • the instrument was open for applications on at least • the instrument is a variant listing of one in the main one course but received none table – e.g.: Saxophone (Jazz) – used only by one or a small number of conservatoires. In this case, there may • the instrument was originally allowed but was not have been any applications to the conservatoire(s) withdrawn before receiving any applications using this term, even if other conservatoires received • the instrument was only available as a second study applications in this area under another instrument instrument. name

Orchestral, band and early music ensemble Clarinet (E Flat) instruments Contemporary Piano Banjo (tenor) Cor anglais Baritone Cornetto Bassoon (Baroque) Flugelhorn Bassoon (Contra) Flute (Alto) Brass Quintet Flute (Bass) Chittarone Flute (Renaissance) Cimbasso Harpsichord (Baroque) 28 Notes on table 10

Lute Non-orchestral and band instruments Lute/Theorbo Accompaniment Mandolin Clavichord Oboe d’amore Counter Tenor Ophicleide Guitar Percussion Guitar (Accompaniment) Percussion & Timpani Guitar (Baroque) Percussion (Ethnic Percussion & Drumset) Guitar (Electric Bass) Percussion (Latin American) Guitar (Electric Lead) Piccolo Opera Repetiteur Sackbut Voice (Early Music) Saxophone (All) Voice (Mezzo-Soprano) Early Music Saxophone (Bass) Voice (Tenor) Early Music Serpent Timpani Jazz Timpani (Baroque) Timpani (orchestral) Cello (Jazz) Trombone Saxophone (Soprano) Jazz Trombone (Alto) Saxophone Jazz Trumpet (Bass) Vibraphone (Jazz) Trumpet (Natural) Trumpet (Slide) Scottish and Indian music Vihuela da Mano Accordion (classical) Vihuela de Mano Bagpipes Viol Clarsach Violone Flute (Scottish Traditional Music) Mandolin (Indian Music) Composition, musicology, music technology, popular Mridangam music Sitar Animateurship Tabla Community Music Vina Composition Research Violin (Indian Music) Composition/Arrangement Voice (Indian Music) Creative Music Technology Music Psychology Music Recording Performance Performance Studies Popular Music Practical Musicianship

Further information

Detailed information about programmes of study, including CUKAS HEI Customer Service Team those that lie outside the CUKAS system, can be obtained by Rosehill contacting the conservatoires directly or, in many cases, by New Barn Lane visiting their websites, given on page 6. Further information Cheltenham about UCAS and the CUKAS system in general is available from Gloucestershire GL52 3LZ UCAS (www.cukas.ac.uk or www.ucas.com) or by contacting: United Kingdom

t: 0844 984 1111 e: [email protected] f: 01242 544 961 29 30